The anguished dissonance in measure 2 of the theme is quickly resolved, giving way to a sublime cadence on B flat with a hint of resignation. 1. Although written when Mozart was at the peak of his worldly success in Vienna, in 1784, it is tragic to the core. One of the boldest moments is the beginning of the development with its biting dissonances, all the more telling after the preceding euphony. Level of difficulty (from 1 to 9): medium 6, Suggested viewing on YouTube: Claudio Arrau, movements 1–3. Previously available on six single CDs, BIS offers Ronald Brautigam’s Mozart Sonata cycle in one package. It should be played with introspective devotion, not as a declaration of passion. 111 one senses an otherworldliness transcending normal musical expression. It is no wonder, then, that the virtuoso brilliance on which his success in his subscription concerts depended can be detected in his later compositions. Melody and harmony are practically identical, only the rhythm is different. However, there is a stormy passage in D minor and a modulation to C minor before the entry of the second subject in the regular key of C major. XVI/23, and further similarities between the two composers’ sonatas emerge as the movement proceeds. Besides a huge archive of autograph microfilm copies and first editions, he is the proud owner of an extensive collection of historical keyboard instruments. FIRST MOVEMENT   As in so many works of his last years in Vienna, this Sonata features subtle contrapuntal interplay of deceptively simple material. Inspite of its small dimensions, this movement shows Mozart at his best – expressive, exquisite. THIRD MOVEMENT   The last movement is a rollicking virtuoso Allegro assai movement in six-eight meter, making higher technical demands on the performer than most of Beethoven’s sonatas. Such folk or popular elements are relatively rare in Mozart, but this Movement is the exception, akin to the minuets of Beethoven’s Septet, op. There is a lot of truth in Arthur Schnabel’s famous remark, “The sonatas of Mozart are unique; they are too easy for children, and too difficult for pianists”. It's also much smaller than a modern piano, at just 2.23m long. 4.4 out of 5 stars 125. Its song-like eleven-bar theme, 4+4 (3 1/2) + 3 (3 1/2), with a concluding note at the 12th measure, is followed by an episode and a wonderfully varied return of the theme in D major (m. 25) instead of a contrasting second subject. After the composition of the great C minor Sonata there is a turning point in Mozart’s sonata output. In other words, Paul Badura-Skoda is one of the most important pianists of our time. Again and again he devotes precious time and enthusiasm to the strenuous office of jury member in important piano contests and advises young artists. Comes in a thin cardboard slipcase with booklet and two fatbox jewel cases with … The numerous phrase marks and the careful dynamic indications testify to Mozart’s own fondness of his Sonata. Discounting Haydn’s quite different C minor Sonata (Hob. Mozart. FIRST MOVEMENT   The first movement is marked “Allegro maestoso”, and the opening theme is indeed truly majestic: its dotted rhythms were formerly understood to imply majesty. Over his short life, he composed 18 numbered piano sonatas, sonatas for four hands, 36 violin sonatas, and 17 Church Sonatas, as well as trio sonatas for chamber instruments. The development presents the opening motif first in g minor, and then the various ideas of the first subject are worked out. He often uses it in the minor as well as the major, and many of his themes start with this motif (e.g. But while 18 sonatas on five discs is hardly enough considering how sublime the music is, at least there are 18 sonatas on five discs' worth of superbly performed music. It combines rondo form and sonata form brilliantly. SECOND MOVEMENT   The second movement of this Sonata (in F major) is marked Andante cantabile con espressione. He goes on extensive concert tours on all continents, plays with leading orchestras and can be found in the recording studios of the celebrated record companies. This Presto is one of the most desolate movements Mozart ever wrote, with its remarkable fluctuations between resignation and defiance and only a single subtly illuminating shaft of A major, a fleeting Fata Morgana. Album "Mozart: Les sonates pour piano. ), and a canon in the fifth in the development section (m. 103). SECOND MOVEMENT   The second movement of this sonata is an introspective Andante un poco adagio. Allegro assai ♪ Piano Sonata No. THIRD MOVEMENT   The final movement, a Presto, reverts to the foreboding of the first movement; but instead of presenting the drama with the help of an orchestral texture, this finale gives a more subdued image of the underlying mood of tragedy. Mozart, unlike Beethoven, rarely resolved his minor-key works into radiant major finales; he seldom allows joy to conquer tragedy. XVI/23 and – even more so – with the presto theme of Haydn’s B minor Sonata Hob. The thematic material of this opening movement (and to a lesser degree also that of the following movements) is laid out on a more ample, nearly orchestral scale, a departure from the intimacy of the early sonatas. On the other hand, Mozart’s depth of thoughts and feelings is more elusive and not so easily recognizable. The group of the first six sonatas preserved were presumably composed in Munich from January to March 1775. Its development starts with a new folk-like theme under which one could easily put the joking text from a Viennese folksong: “Unsre Katz hat Junge kriegt…”, Level of difficulty (from 1 to 9): medium 5-6, Suggested viewing on YouTube: Wilhelm Backhaus, movements 1–3. Composed in November 1783 Level of difficulty (from 1 to 9): medium 6, Suggested viewing on YouTube: Vladimir Horowitz, 2nd movement. The opening is recalled again in an effectively assertive coda. The first subject is a distinctive, marcato opening followed by a five-bar response. The A major Sonata has always been one of Mozart’s best-loved works. Yet it was just at this time that tragedy, objective and subjective, took a grip on Mozart’s life, finally leading to his death in poverty. The chromatic steps around the fifth (F sharp, G, A flat) convey a sense of impeding doom, as they do in the main subject of the Concerto’s first movement. SECOND MOVEMENT   The two following movements, on the other hand, already match the succeeding sonatas. For her age she is sensible and level-headed; she is serious, and doesn’t talk too much, though what she says is pleasing and sympathetic”. SECOND MOVEMENT   According to Daniel Schubart’s aesthetic theory, E flat, the key of the middle movement, was the key “of love, prayer, intimate converse with the Almighty, signifying the Trinity with its three flats”- a characterization which does seem to apply, for once, to this rather solemn and profound Andante cantabile movement. At the very end, there is a typical Mozartian joke: he wrote the word Coda into the score; but instead of the expected elaborate epilogue, this tail consists of only two concluding chords. All three movements are in sonata form. Record companies were not long to wait - for years he was the pianist who had the largest number of long-playing records on the market.Since then, Badura-Skoda has become a regular and celebrated guest at the most important music festivals. Suggested viewing on YouTube: Paul Badura-Skoda, movements 1–3. Ein Handbuch, Kassel [Bärenreiter Verlag] 1995 3. Two Rondos, a Fantasia, and a decidedly quirky Gigue complete a delight of a double album. The recapitulation brings a further surprise by turning towards remote minor keys and adding another short contrapuntal development of the opening theme. 14 in C Minor, KV. Hallo, Inloggen. Digital edition of Mozart piano sonatas. Nor is Mozart the dramatist is totally absent in this movement: the development plunges us abruptly – and with great effect – into D flat major. In both pieces, the original lament of the siciliano resolves into a warm A flat major melody with a gently moving accompaniment. (There are analogous passages in the subsidiary themes in Gluck’s overture Iphigénie en Tauride and the first movements of J. S. Bach’s Italian Concert). THIRD MOVEMENT   The final rondo is in gavotte rhythm; it is packed with the expression of high spirits and concerto-like effects, for instance with the short cadenza in measure 43 and the return of the theme beneath a trill accompaniment (m. 114f). 76 aanbiedingen in oktober - Koop en verkoop mozart piano sonatas eenvoudig op Marktplaats Lokale aanbiedingen - Ga ervoor! The Staatliche Hochschule für Musik und Darstellende Kunst Mannheim and the Pontificia Universidad Católica del Perú honoured him with the title Doctor Honoris Causa.Website of Paul Badura-Skoda. They are usually divided into groups according to the first publication dates: (1) Six Sonatas K. 279–284(2) Three Sonatas K. 309–311 (3) Three Sonatas K. 330–332 (4) Sonata K. 333(5) Fantasy and Sonata K. 475/457 (6) The Late Sonatas K. 533/494, 545, 570, 576. This is the work which made the deepest impression on Mozart’s direct contemporaries and successors, especially on the young Beethoven. SECOND MOVEMENT   In contrast to this slow movement, the next one is a lively minuet with a relatively long trio section (labeled Menuett II), which clearly draws on Austrian dance traditions. 20 and his Sonata op. If I want to show my love to a dear person, I sit down at the piano and play for her a piece of Mozart”. 12 F Major, KV 332 (300k): 2. Unlike the first movement, which in place of a new development section simply presents a new idea followed by an extended transition to the recapitulation, the second movement contains a true development in the 19th century textbook sense, presenting the subject first in the right hand (in D minor and C major) and then in the lower register and so no. In reality his works are the result of relentless learning and not little toil. FIRST MOVEMENT   The fifth sonata K. 283 (189h), in the pastoral and joyous key of G major, is especially popular; it again displays novel ideas, musically and pianistically. Composed in Vienna 1785Level of difficulty (from 1 to 9): medium 6, Suggested viewing on YouTube: Edwin Fischer. An early fortepiano with a percussion stop is an ideal instrument for the interpretation of this sonata. THIRD MOVEMENT   The finale, an irresistibly fresh and brilliant Allegro in 2/4 meter, concludes a distinctly original and lovable work. This Fantasy might well be ranked as Mozart’s most significant single piano composition. FIRST MOVEMENT   Although the six sonatas were apparently written down more or less at the same time, there is reason to believe that at least the opening Allegro of the Sonata K. 279 was composed earlier. This is one of the many reasons to believe that Mozart most probably knew Haydn’s so-called six Kurzböck-Sonaten well. Level of difficulty (from 1 to 9): medium 5, Suggested viewing on YouTube: Grigory Sokolov, movement 1-3. Copyright © 2013 John Wakelin. 2003 Imagen de Elregistrador: 1. The two sonatas K. 309 (284b) and K. 311 (284c) were presumably written in Mannheim in 1777, and the extraordinary sonata in A minor in Paris in 1778. I wanted to buy both volumes from the same source but had to go to another supplier for Vol 2 of … He was meticulous in providing it with plenty of articulation signs and dynamic marks. It may be more than accidental that the A flat major theme of the second episode is almost identical with the adagio theme of Beethoven’s Pathétique Sonata. Siegbert Rampe, Mozarts Claviermusik. Understandably, Mozart retained a special affection for it and continued to perform it himself. Review by: Jed Distler. The superficial impression of a diffuse form does not stand up to a closer inspection: it would not be at all easy to omit one of the twelve variations, or to add an extra one. Probeer. 17 in B-flat major, K. 570 (Vienna, February, 1789) Piano Sonata No. 13 in B-Flat Major, KV. It affords a point of repose; but despite Mozart’s extension of the rondo form by a contrapuntal cadenza-like section, and despite a wonderful episode in F minor, this piece lacks the tension which distinguished the previous movements, particularly the second. THIRD MOVEMENT   The somber ethos of E flat is dispelled by a concertante Rondo finale in B flat, although this good-humoured movement does retain a touch of seriousness – a sufficiently weighty conclusion to this fine Sonata. In these words the great Mozart interpreter Edwin Fischer expressed an essential message: every note Mozart wrote is a reflection of his character – affectionate, sensitive and yet at the same time powerful and virile, abounding both of inspiration and an early acquired masterly control comparable in some ways only with that of Johann-Sebastian Bach. Less other-worldly in character is the last of Mozart’s piano sonatas in D major. Are Group Guitar Lessons Cheaper Than Solo Lessons? Madame von Trattner (1758 1796) was a pupil of Mozart and the wife of Mozart’s wealthy and influential landlord. Many of Mozart’s works in B flat major, among them are the Concerto K. 595 and this Piano Sonata K. 570, are characterized by gentle, sometimes somber resignation. However, the C minor Sonata offers more than this: a shattering expression of personal anguish, and a new language altogether which set this Sonata at the beginning of an epoch. The first movement is exuberantly gay. Having been kept in a mansion ever since it was built (ca. Unlike all the succeeding sonatas, it lacks a characteristic significant opening theme. FIRST MOVEMENT   A first version of the beginning of the first movement, written on one and a half pages, was cancelled by Mozart. The second episode in minor introduces a hint of melancholy into the course of gay events, which the third episode also interrupts, this time with a loud, dramatically spread diminished-seventh chord (m. 102-104). The cantabile opening measures are followed by an unusually long answering phrase containing a wealth of melodic ideas, many of which are reminiscent of Haydn (m. 13 ff.). Only two years later he attracted attention when he won the first prize of the Austrian Music Competition. Basically, this is a simple binary motif, which is repeated and merges imperceptibly into the concluding thought of the exposition. The polyphonic writing is meticulous, and the themes are fundamentally related as well as being contrapuntally viable (see the beginning of the development). SECOND MOVEMENT   Mozart called the second movement a Rondeau en Polonaise, so it is a dance. But no formal description can do justice to the poetical depth of this movement. FIRST MOVEMENT   The first movement of the C major Sonata K. 309 is a model teaching sonata form structure. What to our ear sounds typically Mozart is in reality an adaption from Haydn’s Theme and Variations in the same key, Hob. Like the Sonata in C minor, it opens in unison, like the Concerto in C minor, it is chromatic. At the outset, the theme of the first movement introduces a charming dualism between sixteenth triplets and 32nd notes. Ga naar primaire This is apparently the only he completed and, far from being easy, it demands a high standard of finger technique. I was converted to the Mozart piano in 1948, after a series of private concerts at which the remarkable Isolde Ahlgrimm played Mozart’s Piano Sonatas on a Walter pianoforte. The silvery clearness of the sonority, the nuances of registers, the subtlety of the dynamic gradation and above all the sweet noble tones of the middle register remain truly unequaled. Before that I had looked upon those apparently primitive instruments with some arrogance and shared the widespread prejudice that the use of such instruments offered nothing but a historical interest. Piano Sonatas by Wolfgang Amadeus Mozart; Piano Sonata No.1 in C major, K.279/189d; Piano Sonata No.2 in F major, K.280/189e; Piano Sonata No.3 in B-flat major, K.281/189f It is two octaves shorter than a modern piano, and is much lighter and smaller than modern pianos, weighing only 85kg. SECOND MOVEMENT   The thematic economy of the first movement and the skillful exchange of material between the hands are somewhat reminiscent of Haydn. SECOND MOVEMENT   The A major Adagio movement is in a straightforward ternary form with a middle section of sweet melancholy in the relative minor. The seven measures of the main theme are repeated, slightly varied. $18.48. It shows Mozart’s special gift for writing variations at its most brilliant. The third movement, a Rondo, is perhaps the most child-like movement, and the innocently graceful G major Andante is based on a resourceful use of Alberti patterns. SECOND MOVEMENT   The second movement, an Andante, is all resignation and melancholy – undoubtedly the greatest movement in the Sonata. Who else could embellish in such an ingenious way? Therefore it was an exceptional stroke of luck when, after a long activity as collector, I was able, a few years ago, to purchase a collector‘s piece by Johann Schantz who was held in Mozart’s time as the best Viennese piano builder with Anton Walter. XVI/20), this is the first truly monumental work in the sonata repertory, designed for acoustics more spacious than those of drawing rooms. Bach’s use of the term. They appeared under the title “Fantaisie et Sonate pour le Forte-Piano” in December 1785 with a dedication to Madame Therese von Trattner. The Sonata is usually known as the Sonata facile, and it is considered easy to play, ideal for teaching purposes. Meanwhile he was writing and performing piano concertos – five in quick succession in 1783/84 (K. 449, 450, 451, 453 and 456) – for his subscription concerts in Vienna, which at first were very successful. It requires the ability of a feeling heart to express music as an affectionate communication between performer and listener. In this Sonata Mozart anticipates in more than one way the “heavenly length” of some of Schubert’s Sonatas. But, Brautingam puts an end to that unwise thinking the moment you put the disk in the cd player. He made a spectacular debut at the Salzburg Festival; and at his first concert in New York in 1953 the hall was quickly sold out, something that hardly anyone before him had experienced. The Performance of His Piano Pieces and Other Compositions (2nd edition), New York    [Routledge] 2008 2. The first movement opens with a cantabile theme which no one else could have written. Level of difficulty (from 1 to 9): medium 4-5, Suggested viewing on YouTube: Ann Schein, movements 1–3. Composed presumably 1783 Level of difficulty (from 1 to 9): medium 6, Suggested viewing on YouTube: Ingrid Haebler, movements 1–3. The two slow lyrical sections are in D and in B flat major, i.e. Two further statements of the opening motif lead back to the recapitulation in measure 94. This tutti effect was one of his favourites, and he also used it in later works, such as the Variation on a Theme by Gluck K. 455 the Piano Concerto K. 456/I and the cadenza of the Piano Concerto in G major K. 453/I. Tension mounts as the second part of the theme rises in pitch and volume (measures 84-94), leading to a soft G major bass entry of the first subject. Anyone looking for a window into Mozart's soul should look no further than his vast output of sonatas. The clarity and lightness of Mozart’s creations led generations of music-lovers to the erroneous opinion that he composed his works without any effort, “as the bird sings”. Vol. It has been suggested that an unhappy love affair with her might have provoked the serious expression of both works. The movement has no well-defined contrasting theme, but approaches the monothematicism of many Haydn sonatas. It is no accident that the end of the variation theme is repeated note by note at the end of the minuet, that the crossing of hands in the trio of the minuet is anticipated in variation IV, that the key of the finale (A minor) is prefigured in variation III, and that the ritornello of this famous Turkish march finale in A major is alluded to in measures 5 and 6 of the allegro variation. Anyway, only the last sonata of the cycle appeared in print during Mozart’s lifetime, but this one, however, repeatedly. The development begins dramatically with a highly charged diminished seventh chord followed by two short crescendos. The second subject, a supple melodic line, unaccompanied in its opening bar, incorporates a descending chain of first inversions   a favourite harmonic formula of the baroque and classical periods. Yet even here the movements are bound together by strong melodic and formal affinities. No other classical composer labeled a movement “amoroso” (Andante of the Sonata in B flat major, K. 281). In the development, the theme enters in new canonic imitations, first a measure apart (measures 63 64), later only half a measure (m. 70), leading to an impressive climax with a modulation to F sharp major (m. 77 f.), and a return through the minor keys (F sharp minor, bar 83; B and E minor). This sensational success was repeated a few years later at his debut in Tokyo. Find album reviews, stream songs, credits and award information for Mozart: Piano Sonatas - Alfred Brendel on AllMusic - 2003 - Unless the audience is made up of sentimentalists… One can approach the mystery of Mozart only with the help of metaphors. It would be absurd to ask which of the two masters expressed more depth in his music. 2 (English, French and German Edition) W.A. This movement is in rondo form and its first episode in C minor is closely related to the C minor passage in the central movement of the Piano Concerto K. 491, measure 14 being an almost direct quotation. It is a unique experience to be shown around this treasury by the owner himself.1976 the Austrian State honoured Paul Badura-Skoda with the „Österreichische Ehrenkreuz für Wissenschaft und Kunst”, 1978 Badura-Skoda received the "Bösendorfer-Ring" which had been given only to Wilhelm Backhaus before, 1988 he received the Gold Medal of the City of Vienna, 1993 the artist was nominated „Ritter de la Legion d’Honneur” and 1997 „Commandeur des Arts et des Lettres”. 457: Allegro molto the second movement of the A major Sonata K. 331, the Adagio in B minor K. 540, and subjects in the Symphonies K. 114, 124, 319/II and 551/II). FIRST MOVEMENT   The first movement opens rather conventionally; however, it then builds up a tension in the development from the simplest raw material. Both interpreter and listener should feel it. THIRD MOVEMENT   This Andante is followed by a cheerful, sturdy final movement in sonata form marked Allegretto. His unusual musical talent very soon became evident and was appropriately encouraged. Mozart himself called them “the six difficult sonatas” and played them several times on his tour to Augsburg, Mannheim and Paris (1777/78). He is 76, and is back to the piano after a nearly 50 year hiatus. Mozart’s ability to express the deepest thoughts with the fewest notes is why it is so difficult to play his music properly. The benefits at a glance: In the following, you can find facts and information on each of the 18 masterpieces that we have put together especially for you: In addition, all of this is rounded off with observations on the significance of the sonata and historical keyboard instruments. FIRST MOVEMENT   The Sonata in F major has a first movement in three-four meter, like K. 280 in the same key. 17 Complete Mozart Edition,Door Mitsuko Uchida On the same page, he started anew to write the final version underneath. Mozart 19 Sonatas - Complete: Piano Solo (Schirmer's Library of Musical Classics, Vol. The first movement has the character of a lively menuet, despite the marking Allegro assai. Einstein may well have been right in assuming that the Sonata was written under the weight of Mozart’s grief at his mother’s death in Paris. Suggested viewing on YouTube: Daniel Barenboim, Satz 1–3. Particularly impressive are a canon using the rondo and its inversion (measures 34 ff. The second episode in B minor has the character of a development section, crowned by a small written-out cadenza. THIRD MOVEMENT   The finale of the Sonata, a Presto in three-eight metre, restores the joyful mood of the opening. Among Mozart’s contemporaries only Joseph Haydn could occasionally match such a wealth of expression. It proves that Mozart must have been the best pianist of his time. The relatively late date of these first completely preserved piano sonatas explains why we are already faced with astonishing masterworks. Maybe Mozart saw a handwritten copy in the possession of Haydn’s brother Michael. A grazioso second theme begins in measure 9. This establishes that they were written after Mozart had emancipated himself from his father and the Salzburg Court. From the assertive opening on, the first movement is a sustained cry of protest, yielding at the end to a consoling Adagio movement, one of Mozart’s finest inspirations. The overall shape is a succession of slow, fast and again slow sections, with a return of the first theme towards the end. Wolfgang Amadeus Mozart: Piano Sonata No. Suggested viewing on YouTube: Lili Kraus, movements 1–3. In a letter of 1789 Mozart told his creditor Puchberg that he intended to write six simple sonatas for Princess Frederica of Prussia in order to raise some money. THIRD MOVEMENT   After this Andante Mozart did not write a finale but chose the F major Rondo, composed in 1786, to round up the Sonata. Technical prowess alone won’t do it. Piano Sonatas Vol. A minor Italian composer might have repeated the opening statement one step lower; it still would sound well, but it would not be comparable in any way to the beauty of Mozart’s theme. However, the Adagio marking classes this movement as the slower, more serious type of siciliano, an earlier model of which can be found in Bach’s harpsichord Concerto in E major. SECOND MOVEMENT   The Andante in C major is unpretentious, but with the help of subtle shading in performance, the repeated notes of the theme can become really effective. It was this Sonata of which he said that it sounded incomparable on Stein’s new fortepianos. FIRST MOVEMENT   Compared with the rhythmically similar opening of the F major Sonata, K. 332, this B flat major Sonata is lacking in energy and drive, and the beginning of the melody of the first-subject swings like a pendulum around the tonic. The falling fourth and rising sixth of the opening is one of Mozart’s favourite motifs, his common melodic device. The recapitulation returns finally to the solace of the first subject. The second subject, now in the tonic, has surprisingly changed place with its accompaniment. Indeed, a great adaptation is required of today’s pianists, because our hands have become too heavy and massive owing to the increase in mechanical weight and to the depth of the keys. 5.0 out of 5 stars Mozart Piano Sonatas Vol.2. FIRST MOVEMENT   Remarkably, this sonata opens with a slow movement like the A major Sonata K. 331. By the way, the last four measures of this middle movement are not in the autograph – Mozart added them when the Sonata was given to the engraver. It expresses resignation but without bitterness: a sublimated farewell, music free from earthly trammels. It arrived when expected and in good condition. THIRD MOVEMENT   The final movement is one of Mozart’s hunting rondos in six-eight meter, so often found in his piano concertos. With sonata forms, as with Bach fugues, no formal dogmas underlie the process of composition, but each sonata varies anew a basic principle. Unlike the more short-winded first movement, it spans a long melodic arch which never sags throughout the first subject group, right down to the half-close at measure 22. A scholarship for Edwin Fischer's master classes in Lucerne was the prize, and also the starting point of the maestro's friendship, which laid the foundation for Badura-Skoda's artistic future. Especially pleasing in the C major Sonata K. 279 are the expressive lyrical Andante – (the triplet figuration of which foreshadows the famous Andante in the C major Concerto K. 467) and the lively and fresh Haydnesque Finale. Suggested viewing on YouTube: Vadim Chaimovich, movements 1–3, FIRST MOVEMENT   B flat major, the key of the third sonata in the cycle, seems to have been Mozart’s favourite key for piano music, since he used it for three sonatas and no fewer than four concertos and six piano and violin sonatas. The opening theme and its continuation is an interplay of question and answer with the final response in baroque hemiola rhythm (a sudden 3/2 meter interpolated in a 3/4 movement). Mozart's sound world instantly comes to life in your ears. Reviewed in the United Kingdom on January 28, 2012. Despite its apparent simplicity this movement shows a surprising depth of emotion, especially in the second episode which turns into the minor key.